This volume examines the global influence and impact of DIY cultural practice as this informs the production, performance and consumption of underground music in different parts of the world. The book brings together a series of original studies of DIY musical activities in Europe, North and South America, Asia and Oceania. The chapters combine insights from established academic writers with the work of younger scholars, some of whom are directly engaged in contemporary underground music scenes.

The book begins by revisiting and re-evaluating key themes and issues that have been used in studying the cultural meaning of alternative and underground music scenes, notably aspects of space, place and identity and the political economy of DIY cultural practice. The book then explores how the DIY cultural practices that characterize alternative and underground music scenes have been impacted and influenced by technological change, notably the emergence of digital media. Finally, in acknowledging the over 40-year history of DIY cultural practice in punk and post-punk contexts, the book considers how DIY cultures have become embedded in cultural memory and the emotional geographies of place.

Through combining high-quality data and fresh conceptual insights in the context of an international body of work spanning the disciplines of popular-music studies, cultural and media studies, and sociology the book offers a series of innovative new directions in the study of DIY cultures and underground/alternative music scenes. This volume will be of particular interest to undergraduate students in the above-mentioned fields of study, as well as an invaluable resource for established academics and researchers working in these and related fields.

chapter |6 pages


part I|2 pages

Underground music scenes between the local and the translocal

chapter 3|10 pages

Punk stories

chapter 4|11 pages

Between popular and underground culture

An analysis of Bucharest urban culture

chapter 6|12 pages

Boys in black, girls in punk

Gender performances in the Goth and hardcore punk scenes in Northern Germany

part II|2 pages

Music and DIY cultures

chapter 8|12 pages

Home Economics

Fusing imaginaries in Wellington’s musical underground

chapter 9|11 pages

Proud amateurs

Deterritorialized expertise in contemporary Finnish DIY micro-labels

chapter 10|13 pages

Noise records as noise culture

DIY practices, aesthetics and trades

chapter 11|12 pages

Punk positif

The DIY ethic and the politics of value in the Indonesian hardcore punk scene

part III|2 pages

Art, music and technological change

chapter 12|11 pages

So far, yet so near

The Brazilian DIY politics of Sofar Sounds – a collaborative network for live music audiences

chapter 13|10 pages

Cassette cultures in Berlin

Resurgence, DIY freedom or sellout?

chapter 14|11 pages

‘Here Today’

The role of ephemera in clarifying underground culture

chapter 15|12 pages

Birth of an underground music scene?

Creative networks and (digital) DIY technologies in a Hungarian context

part IV|2 pages

Music scenes, memory and emotional geographies

chapter 16|10 pages

The inoperative subculture

History, identity and avant-gardism in garage rock

chapter 18|12 pages

The independent record label, ideology and longevity

Twenty years of Chemikal Underground Records in Glasgow

chapter 19|11 pages

Verbal Sound System (1997–98)

Recalling a raver’s DIY practices in the British free party counterculture

chapter 20|13 pages

A howl of the estranged

Post-punk and contemporary underground scenes in Bulgarian popular music